William A. Harper died in 1910. His “Avenue of Poplars” took a prize of $100 at the Chicago Art Institute. William Edward Scott studied in Paris under Tanner. His picture “La Pauvre Voisine” was hung in the salon in 1910 and bought by the government of the Argentine Republic. Another picture was hung in Paris and took first prize at the Indiana State Fair, and a third picture was exhibited in the Royal Academy in London. Lately Mr. Scott has specialized in mural painting. His work is found in ten public schools in Chicago, in four in Indianapolis and in the latter city he decorated two units in the City Hospital with 300 life sized pictures. In many of these pictures he has especially emphasized the Negro type. Richard Brown, Edwin Harleston, Albert A. Smith, Laura Wheeler and a number of rising young painters have shown the ability of the Negro in this line of art; but their dean is, of course, Henry Ossawa Tanner. Tanner is today one of the leading painters of the world and universally is so recognized. He was born an American Negro in Pittsburgh in 1859, the son of an African Methodist minister; he studied at the Academy of Fine Arts in Philadelphia and became a photographer in Atlanta. Afterward he taught at Clark University in Atlanta. In all this time he had sold less than $200 worth of pictures; but finally he got to Paris and was encouraged by Benjamin Constant. He soon turned toward his greatest forte, religious pictures. His “Daniel in the Lion’s Den” was hung in the salon in 1896 and the next year the “Raising of Lazarus” was bought by the French government and hung in the Luxembourg. Since then he has won medals in all the greatest expositions, and his works are sought by connoisseurs. He has recently received knighthood in the French Legion of Honor. In sculpture we may again think of two points of view,—first, there is the way in which the Negro type has figured in American sculpture as, for instance, the libyan Sybil of W. A. Story, Bissell’s Emancipation group in Scotland, the Negro woman on the military monument in Detroit, Ball’s Negro in the various emancipation groups, Ward’s colored woman on the Beecher monument, the panel on the Cleveland monument of Scofield, Africa in D. C. French’s group in front of the Custom’s House in New York City, Calder’s black boy in the Nations of the West group in the Panama-Pacific exhibition and, of course, the celebrated Shaw monument in Boston.[206] On the other hand, there have been a few Negro sculptors, three of whom merit mention: Edmonia Lewis, who worked during the Civil War, Meta Warrick Fuller, a pupil of Rodin, and May Howard Jackson, who has done some wonderful work in the portraying of the mulatto type.